Jim Melchert, John Roloff, and Stephanie Syjuco
Thursday, February 16, 2017
The first in a series of three programs in conjunction with our inaugural exhibition in The Garage. This conversation between artists Jim Melchert, John Roloff and Stephanie Syjuco, centers on expanded definitions of ceramics. They share their perspectives on the intersections between ceramics, site, performance, and audience participation in the Bay Area.
Amy Balkin, Sharon Daniel and Fieldworks Collaborative (Trena Noval and Ann Wettrich)
Thursday, March 2, 2017
Amy Balkin is an artist whose work involves land and the geopolitical relationships that frame it. Sharon Daniel is a media artist who produces interactive and participatory documentaries focused on issues of social, economic, environmental and criminal justice. Fieldworks Collaborative was founded in 2012 by artists/researchers Trena Noval and Ann Wettrich to invent new approaches to creative inquiry and collaborative systems that explore the world we live in.
Terry Berlier, Bernie Lubell, and Pamela Z
Thursday, March 16, 2017
Using a variety of materials, from cut wood, to custom electronic devices, to analog record players and their own bodies, the artists contest the performative and visceral aspects of sound and how it changes the way we view and perceive the world around us.
Terry Berlier is an interdisciplinary artist whose work is often kinetic, interactive and/or sound based and addresses themes of the environment and queer practice. Bernie Lubell makes interactive wood machines that visually construct the process of thought. Pamela Z is a composer/performer and media artist who works primarily with voice, live electronic processing, sampled sound, and video.
Isabel Nuñode Buen
April 8 – May 20, 2017
Isabel Nuño de Buen creates sculptural installations resembling architectural models that are largely horizontal, expansive, and fragmentary. These three-dimensional constructions—which the artist refers to as constellations—stem from a complex layering process. Each level operates within its own internal logic; the overall forms are comprised of new material, introduced and contextualized with moments and parts from previous installations. This open form allows the work to amass a rich formal language that intertwines the malleable and structural qualities inherent in drawing and architecture. Nuño de Buen works with a variety of media and materials, including plaster, paper maché, drawing, steel and paint.
For Nightwalks, Nuño de Buen begins by drawing with chalk directly onto the garage floor, creating a fragmented pattern based on her evening explorations around the streets of Hannover, Germany, in search of cardboard materials.
The cardboard is cut, layered and sanded resulting in large modular columns. These modules, created in the artist’s studio and assembled onsite, are built according to their own inner set of rules, which condition the organizational structure of their building. The works’ inherent potentiality for change and re-order allows for multiple configurations, prioritizing the process over the end result. Specifically arranged and placed on top of the drawing, the structures mediate the spatial relations imposed by the drawing, allowing the viewer in determining a sense of place, while creating an obstacle that responds to and plays off of the architecture of The Garage.
Isabel Nuño de Buen (Mexico City, 1985) earned her diploma in Fine Arts at the Hochschule für Bildende Künste Braunschweig, Germany, in 2013, where she also completed the Meisterschüler program in 2014. She has received various grants and awards, including the Grant for Young Creators FONCA (2015-16), Mexico, the Grant for International Studies FONCA – CONACYT (2013-14) (MX) and the Jahresstipendium Niedersachsen (2015) (GE). She currently lives and works in Hannover, Germany as a resident at the Villa Minimo as part of a grant from the Kunstverein Hannover (2017-18). Recent exhibitions include: Creación en Movimiento, Capilla del Arte, Puebla (MX), 2016; scala polis, taut, axis mundi (Constellation 1.2), Kurimanzutto (MX), 2015; Bricologie, Villa Arson, Nizza (FR), 2015.
Artist Talk
Thursday, April 20, 2017
New York based artist Virginia Overton discusses working in a site-specific manner, the consideration of materials, and artworks that were made for the exhibition The Disagreeable Object.
The night includes a tasting of Overton’s sculpture Untitled (Ham, Chandelier), a cured Mangalitsa ham from her sister’s Wedge Oak Farm in Lebenon, Tennessee. The ham was previously shown at the Whitney Museum of American Art from June 10–September 25, 2016 and was installed in the dining room of The House.
Overton is the first invited artist for the Visiting Artist Series, a program that establishes a dialog between the visiting artist and the David Ireland House, including The 500 Capp Street Foundation’s archive of Ireland’s artwork and ephemera.
Richard T. Walker
Thursday, April 27, 2017
April’s LET’S GET WEIRD! includes our exhibition, The Disagreeable Object with work from our newly launched Visiting Artist Series. Virginia Overton was our first visiting artist, and she made site-specific work for The Garage rooftop and inside The House.
LET’S GET WEIRD! creates an atmosphere for conversation and engagement among local art enthusiasts and practitioners with different curated video, music and performance alongside a guest bartender. LET’S GET WEIRD! is an audio/visual program activated throughout the entire David Ireland House, co-organized by the Foundation’s curatorial team, Diego Villalobos and Bob Linder. The idea for the event is rooted in Ireland’s legacy as an active member of the Bay Area arts community and as a frequent host to events like this at his 500 Capp Street home.
